MUSIC BIZ INSIGHT is published for musicians, songwriters,
managers, label reps, booking agents, entertainment attorneys, studio
owners, music publishers, and all others involved in the music
business. Its purpose is to help boost your business, find new
markets, make the right connections, develop professionally, work
smarter and improve your bottom line.

"As a general rule, the most successful people in life are
those who have the best information." Benjamin Disraeli

Published bi-monthly by Peter Spellman, Director MUSIC BUSINESS
SOLUTIONS: Turning Music Business Data into Useful Knowledge.
Career and Business-building books, articles, consulting and more.

(EDITOR"S NOTE: The following may well prove to be
one of the most significant and far-reaching events of the year as
far as the traditional recording industry is concerned).

The Artist To Sell Album Through Web Site, 800
Number

Call him what you want, but The Artist (aka Prince,
TAFKAP) knows how to market himself for the future. The usually
publicity-shy musician/producer announced at a NYC press conference
yesterday that he plans to sell his albums -- especially the upcoming
Crystal Ball -- through his web site, as well as through an 800
number.

While not counting out a distribution deal with another label, The
Artist plans to continue marketing his music through his NPG Records,
and has been working with several computer companies about putting
his music directly into his fans' hands. The Artist was quoted as
saying, "If a major comes to the table with the spirit worthy of
doing business, we will produce through them." The Artist also
recently announced that Paisley Park Enterprises would be giving away
copies of his all-acoustic album, The Truth, to fans willing to
provide information for the NPG Records database.

In the last issue we tackled some tips for screening
entertainment attorneys. In this isue we'll look at some guidelines
for selecting the appropriate music publisher.

Some Important Background on the Music
Publishing Business--

Without songs the music industry would collapse. The entire
industry revolves around the song and songwriters are the
keystones of the industry. Just as booking agents find live
performance opportunities for musicians, music publishers are the
"agents and managers" for songs. Their primary job is finding
outlets for the songs in their "catalog".

Anyone who records or publicly performs a song must do two
things: obtain a license from the music publisher who owns the
copyright, and pay for using the song. Thus, publishers (and their
writer/partners) earn royalties and fees every time:

songs are played on radio or television;

records, tapes, videocassettes, and sheet music are
purchased;

music is used in movies or TV commercials;

marching bands perform at football games;

music is piped over shopping mall speaker-systems;

coins are dropped into juke boxes;

bands play in local nightclubs;

rock stars perform in concert;

lyrics are printed in magazines;

etc., etc., etc...

Until the 1960s the work of music publishers involved signing
songwriters and then placing their songs with singers who would
use them for commercial recordings or public performances. The
publisher would then receive an income from sales of the
recordings (mechanical royalties) and sheet music (print
royalties), and revenue from performances of the song on radio,
tv, and film (performance roylaties and synchronization income).

The emergence of rock music changed the relationship of
publishers to popular music production. In the Tin Pan Alley
tradition there was a clear-cut distinction between writers and
publishers on one side, and performers and record companies on the
other. The success of such artists as The Beatles and Bob Dylan
and the emergence of the rock aesthetic which placed great
emphasis on individual expression resulted in performers
increasingly writing their own songs.

It had been standard practice for songwriters to enter into
agreement with "publishing houses" based on a 50/50 split.
However, as more and more performers began writing and recording
their own material the publishers were able to "publish" a song
without having to place it with a singer or invest much energy in
getting it commercially recorded and performed. Music publishers
reached a point where they could derive a substantial income from
publishing pre-recorded material and had to do very little work,
merely administering music through agencies collecting copyright
revenue (like BMI, ASCAP, SESAC, and The Harry Fox Agency).

As artists and their managers realized that publishers were
doing less for their money, they either began forming their own
publishing companies and thus retained the rights to the material
and the bulk of income or artists began demanding that publishers
reduce their cut. It became common practice for acts, particularly
if they were in a strong bargaining position with recordings
releasesd and being purchased, to request publishing agreements
split 75/25 or even 85/15 in the artist's favor.

Modern technology is having a huge impact on the ways in which
music publishers do their business, enlarging potential sources of
income and making the industry much more complex. Virtually all
the technological innovations affecting the entertainment
industries in recent years, including cable and satellite
television, videocassettes, CDs and other digital formats have
resulted in the expansion of the music publishing business through
new outlets and greater useage of music.

Though finding a publisher who believes in your material can be
difficult, it could be your most important music industry contact.

Why You May Want to Sign With an Established
Publisher:

(a) Some publishers will try to nurture and develop your
writing talent;

(b) Publishers might introduce you to other writers (i.e.,
encourage and facilitate collaborations);

(c) Publishers may offer assistance in securing a recording
contract for you - the "backdoor" approach;

(e) Publishers collect your earnings and royalties and assist
in the negotiation of fees for licensing rights in the songs.

(f) Publishers often have loads of contacts at labels,
management companies, etc. built up over many years.

Here are some music biz insights into the current
state of music publishing and how you can make your way towards a
satisfying artist/ publisher relationship.

1. The Team Approach: One of the most attractive prospects
from a publisher's perspective is a ready-made team made up of a
songwriter/performer and a producer. The old days of nurturing new
songwriters are long gone and a nonrecording songwriter/artist may
find a lot of closed doors. "Development deals" that could
financially sustain a new writer are few and far between. Publishers
today are hedging their bets by going only with proven writers and
artists who already have finished masters of recorded material.

2. Check the Publisher's Contacts. The value of a music
publisher lies almost exclusively in the quantity and quality of the
publisher's contacts. Since songs are used in just about every area
of life on earth, a publisher's contacts can extend well beyond the
recording industry to include television, film, multimedia,
communications, education, health, government and numerous other
businesses not typically associated with songs. A publisher looks for
music needs within these various areas and then "pitches" the
appropriate songs in their catalog to them.

3. Check the Publisher's Reputation. If you want to check
out a specific publisher, you can call one of the national songwriter
organizations. If the publisher is in L.A. check with the
National Academy of Songwriters in Hollywood (800/826-7287).
For Nashville-based publishers call the
Nashville Songwriters
Association (615/256-3354). In New York try the Songwriters Guild
of America (212/686-6820). You can also call BMI, ASCAP, or
SESAC in those cities. There may
be someone in those organizations who can give you feedback about
individual publishers or companies. Perhaps some of the best feedback
will come from songwriters who are affiliated with the prospective
publisher. Ask for some writer references and give them a call.

4. Resources. The best source for music publishers with
currently charting material is the monthly publication, "New On the
Charts" (70 Laurel Place, New Rochelle, NY 10801; 914/632-3349). NOC
not only gives you the publishers with charting tunes in Pop, Urban
and Country, but it also provides full contact info, listings of new
publishing deals, manager, label and producer contact info, and the
confidential "Publisher's Newsletter" listing requested material from
labels, managers, producers and artists. NOC is pricey ($225/yr.) but
worth it if you're a writer in those styles.

Two other general resources for publisher contact info are the
annual "Songwriter's Market" (Writer's Digest Books)
and"The National
Directory of Record Labels and Music Publishers" (Rising Star
Music Publishers). Both directories give you which style(s) of music
publishers deal with, and SM adds additional helpful info from each
publisher regarding their recent signings, some of the songs in their
catalogs, and tips for how best submit music to them.

For a good general book on how music publishing really works, get
a hold of "Music Publishing: The Real Road to Music Business Riches",
2nd ed. by Tim Whitsett (Mix
Bookshelf, 800/235-9604). Awesome!

In the next issue of
MUSIC BIZ
INSIGHT we'll explore the pros and cons of
establishing your own publishing company.

Genre Spotlight covers "niche" music styles
that are either ignored by or don't always receive the marketing push
they deserve from the larger record companies.

WHAT IS "NEW AGE" MUSIC?

As a fairly pliant style category, "New Age" has come to describe
a vast array of sub-genres. Stephen Hill's short essay,
"New Age Music Made
Simple" is still the best thing around for providing context and
scope on the New Age music style. The following comments by composer
Judy
Worth will also illuminate:

"I don't see a special philosophy attached to new age music. Only
a sonic mirror to human emotions ..." I've always believed that music
- no matter what genre it falls into is in it's simplest form,
audible emotion.

As far as it having something to do with the New Age Movement...
While there are some artists who are open about living by the
philosophies presented by that movement, the vast majority of the
artists whose music gets lumped into this genre positively can't
stand that association. There is a certain stigma that goes along
with being labeled as a New Age artist and it's a stigma that many
artists have had to fight. I am a composer and if my music were in a
store, it would be in the New Age bins. No doubt.

At one point, I had a confrontation with my ex-mother-in-law. She
went to buy me a couple of the CDs I had asked for Christmas one year
and then came back and told me she would not buy them simply based on
the fact that they were in the New Age bin. I was stunned! I finally
turned her thinking around when I reminded her of the comments she
had made on the beauty of some of the music she had heard in my
house. I then reminded her that I too am a strong Christian and I
asked her what she would do if my music ever landed in the New Age
bin. Would that suddenly make me a believer in New Age philosophies?
No.

The association of New Age MUSIC to New Age Spirituality has
caused problems for those companies marketing this music. The
problems arise from people like my ex-mother-in-law. Additional
problems arise from the number of people who believe that New Age
music is really just another form of elevator music. I've managed to
educate a few people who believed this but there are SO MANY who
believe this! Lately the preferred term for this type of music has
become Contemporary Instrumental which is just as broad of a
description but it doesn't carry that unwanted stigma along with it.
I would like to see that change take place on the record bin labels
but who knows when or if that will happen."

New Editions
International, Ltd. is a publisher, and national/international
marketing specialist serving Metaphysical/New Age and Holistic
markets: book, audio and video publishers, artists, independents and
organizations with services and products."

They publish a 472 page business and trade directory called "New
Marketing Opportunities" ($89.95 + $5.00 s/h) that contains among
other things retailers, publications, reviewers, and radio syndicates
for the New Age market. Besides other focused publications, their
sevices cover a range of customized mailing lists and labels,
cooperative mailings, consulting, practical marketing packages, and
international representation. Their website describes in detail what
the Directory contains but doesn't provide the listings themselves.

Another important New Age music resource is
"New Age Retailer", 1300 N.
State St., #105, Bellingham, WA 98225-4730; Phone: (360) 676-0789;
Fax: (360) 676-0932; on the Web: http://www.newagenow.com; Email:
newagere@pacificrim.net.

This 7-times a year publication targets owners and operators of
New Age and other metaphysical-related retail establishments.
Provides info on new products, marketing techniques and lists
distributors.

Only New Age Music -
Run by New Age music consultant Suzanne Doucet, the site contains
Online Music-stores, Music-Sites, Record Labels, Artists, Radio
Distributors and more. A good jump-site.

New Age
Voice - New Age Voice magazine is the complete source for
radio airplay and retail sales for the New Age music Industry.
Nice people too.

Music for a New
Age - Another jump site that collects links to sites on the
Net that embrace music for a New Age; labels, artists and other
miscellanea.

New Age Mall -
NewAgeMall is a fairly comprehensive information, business and
trade center for Holistic, Metaphysics and New Age activities and
commerce in North America. Seemed to have a lot of dead links,
however, when I visited.

Did you know that
MUSIC BUSINESS
SOLUTIONS offers one-on-one
consulting
to help you plan your next release, scope out new markets and develop
promotions that get noticed? Rates are reasonable. Call (617)
639-1971 or email success@mbsolutions.com to boost YOUR next
project!

American Business Information
has placed "List Wizard" on its LookupUSA Web site. Internet users
can now access information about the 10 million U.S. businesses in
the company's database. Users can build sales leads and mailing
lists, conduct Yellow Page searches, retrieve business profiles and
credit reports, and perform market research. Custom lists can be
built by selecting business categories, geographic regions, or
company sizes.

WHAT IS S.C.O.R.E.?

How would you like to be able to sit down with a
seasoned business professional, get experienced feedback on your
business plan, bounce some of your own ideas off her, and NOT receive
a bill for her services?

Sound too good to be true? Well, listen up.

The Service Corps of Retired Executives (SCORE) is
the volunteer arm of the Small Business Administration. While it is
considered a governmental agency now, it was started by a group of
retired business people who felt that they owed some service to the
small business community. They operated as an informal group on the
East Coast until 1975 when SCORE was incorporated into a nonprofit
association of volunteers sponsored by the SBA.

SCORE is still a volunteer group of nearly 13,000
retired business persons organized into nearly 400 chapters
throughout the U.S. and it's territories. The chapters are supplied
operating supplies and the members are reimbursed for SCORE-related
travel. There are no charges for the counseling service provided to
the clients.

The function of the counselor is to help clients
start up a new business and to advise small business persons who are
facing problems in keeping their businesses profitable. The
counselors represent nearly every business that can be imagined and
most have from 30 to 40 years of experience on their records.

While the best counseling is done with the client and
counselor face-to-face in a chapter office, SCORE is at present
building a capability to do some counseling online by using the SBA
Online Internet home page connection. At present there are about 127
SCORE members online using nearly all of the major networks feeding
into Internet. The National SCORE Office (NSO) in Washington, D.C.
maintains this listing and serves as the administrative hub for the
organization.

SCORE offices are listed under U.S. Government
sections of local telephone books. I'm sure you'll agree that this is
the best return on your taxes you'll ever get!

An ongoing challenge for all small businesses is
getting noticed. Most companies have a marketing mix that includes a
little advertising, some direct-mailings and, perhaps, a flegling web
site. No matter what marketing techniques you use, the number one
concern for the small business is getting the biggest promotional
bang for the buck that is possible. One little known technique you
may want to consider adding to your own marketing mix is an
electronic newswire service.

What are electronic newswires?

A large portion of all editorial coverage comes not
from local reporters at a given publication or station, but from
outside sources such as wire services, syndicates, chains and
networks. Large newspaper groups often have their own wire services.
Central news bureaus and papers within groups routinely swap stories.
Numerous media services serve hundreds of independent papers. In a
parallel manner, radio and television stations are often owned by a
single corporate entity and yet they too can plug into a variety of
networks, syndications and services.

One of the best ways to currently tap into these huge
news networks are electronic newswires.

In addition to mail or hand delivery, several
services will now take news releases and other documents and send
them electronically to media offices where connections are located.
You just email or send your news release to the network and within
munutes it's off to editors and critics across the country who have
specifically asked for this electronic circuit to be installed in
their office.

Electronic services are attractive because they
eliminate paper, postage, envelopes, labels and mail delays. In a
matter of minutes your fresh, time-sensitive, hot-off-the-wire
materials can be in newsrooms around the country.

Newswires are electronically connected to newspapers,
news bureaus, magazines, local TV and radio stations, network
newsrooms and business publications. In addition, some services also
provide "topical" or "targeted" newswires, such as ones specifically
for Entertainment. Information may also be sent nationwide or to
particular regions and areas.

The Care and
Feeding of the Press-- An extremely useful article on how pr
people should deal with writers, editors and publications they are
seeking coverage from. Focused on high-tech pr but applicable to
all. By Esther Schindler.

Well, they've done it again. Small business gurus Paul & Sarah
Edwards offer their latest as a handbook for creating mutually
profitable alliances for your business. In clear and effective
language they guide the entrepreneur through the whole process of
deciding whether or not to team up, scoping out possible
collaborators, the varieties of teaming up (from networking to joint
ventures), the psychological challenges of collaborating, how to
avoid legal pitfalls, and how to deal with "business breakups".
Illustrated throughout with real-world alliances and quick-read
charts, this book will help you become more collaborative and, in the
end, enrich your bottom line.

Careers in Multimediaby
Vivid Studios (ZD Press, 1996, $24.95).

Get a handle on the multimedia biz with this comprehensive guide
to the world of interactive media development. Drawing from
disciplines such as film, design, software, music, law, writing,
theater, and more, multimedia productivity requires a unique
cooperative effort. Interactive media pioneer Vivid Studios shares
its years of experience to show you how you can bring your individual
talents to a successful multimedia development team. Job
roles/titles, qualifications, employment issues, contract
negotiations, the forms and functions of interactive projects are all
covered in six easy-to-follow chapters. The book is capped by an
impressive resource list that will help you find job info and get the
most out of organizations, schools, books, magazines, and online
research areas.

If you're interested in music
career-building handbooks, check out these three from Music Business
Solutions:

All of these books are based on our
popular seminars by the same names and all are packed with
hard-to-find info to help you grow your music business and career. If
you like what you see in MUSIC BIZ
INSIGHT, you'll love what's in these
books.

SUBSCRIBING TOMUSIC BIZ INSIGHT: The email version
of MUSIC BIZ INSIGHT appears two weeks before the hypertext version.
To subscribe just send email with the message in the body,
"subscribe" to success@mbsolutions.com

It's not an autoresponder so feel free to include any other
comments, ideas, suggestions, etc. you may have.

PETER SPELLMAN is Director of
MUSIC BUSINESS SOLUTIONS, a business and marketing consultancy to the
music industry, and Director of Career Development at Berklee College
of Music, Boston. He is the author of several books for music
entrepreneurs and teaches music industry courses at Northeastern
University (Boston) and the University of Massachusetts (Lowell).

A musician since he was ten, Peter continues to spin riddims in
the improvisational collective, Friend Planet and sing Cat Stevens'
songs to his kids every night before bed.

BLOOM WHERE YOU'RE PLANTED!

Quote of the Month--

"I never lost a game. I just ran out of time." -- Bobby
Layne, former pro-football player, Detroit Lions